| Clarinet Method op. 63 Band 2: No. 34-52 Clarinette [Partition + CD] - Facile Schott
Volume 2, Nos. 34-52 - Book with 2 CDs - Revised Edition. Composed by Car...(+)
Volume 2, Nos. 34-52 -
Book with 2 CDs - Revised
Edition. Composed by
Carl Baermann
(1810-1885). Edited by
Robert Erdt. This
edition: Saddle
stitching. Sheet music
with CD. Woodwind Method.
Die Klarinettenschule op.
63 von Carl Baermann aus
dem Jahr 1867 gilt noch
heute als das
Standardwerk in der
klassischen
Klarinettenausbildung.
Die grundlegend
uberarbeitete Neuausgabe
hat sich zum Ziel
gesetzt, das padagogische
Konzept, das heute immer
n. Educational,
Classical. Edition with 2
CDs, Softcover with CD.
Op. 63. 84 pages. Schott
Music #ED21762-50.
Published by Schott Music
(HL.49044754).
$33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| San Pedro de Alcântara Orchestre d'harmonie - Intermédiaire Molenaar Edition
Concert Band - Grade 5 SKU: ML.013780090 Composed by Valdemar Gomes. Full...(+)
Concert Band - Grade 5
SKU: ML.013780090
Composed by Valdemar
Gomes. Full set. Molenaar
Edition #013780090.
Published by Molenaar
Edition (ML.013780090).
The Spanish war
galleon with 64 cannons,
built in Cuba between
1770 and 1771 for an
English shipowner in the
service of the King of
Spain left Peru for Cadiz
in 1784 with a huge cargo
of copper, gold, silver
and other valuables on
board. There were also
more than 400 people on
board, including
passengers, crew and Inca
prisoners after a revolt.
The Atlantic crossing
went smoothly, passing
Portugal to take
advantage of favourable
winds. The shipwreck off
Peniche was the result of
human error, apparently
due to French maps with
dramatic errors in the
position of the islands
of Berlengas and
neighbouring islets. On 2
February 1786, the sea
was calm and the night
clear, but they hit the
rock formation Papoa and
the hull immediately
broke in two. The bottom
sank quickly, while the
deck remained afloat for
some time. 128 people
lost their lives,
including many Indians
who were trapped in the
basement. This shipwreck
is considered one of the
most important in
maritime
history.
What the
composer wants to convey,
and what can be felt as
one listens, is first of
all the sound of power,
of hope, of the glory of
conquest, of the
splendour of wealth. This
is followed by the
perception of the
maritime environment, the
harmony with the softness
of the ocean, the gliding
of the hull in the foam
of the sea on sunny, blue
days. But along with this
tranquillity, you soon
hear a rhythmic chain
that makes you feel a
representation of the
hustle and bustle, of the
busy crew, of the hard
work of a sailor, of the
desperation of an exotic
people imprisoned in a
dark, damp cellar. A
distinct rhythm that
reminds us of the salero
of Andalusia, with its
Arab influences and its
people, the soothing of
the resignation of others
who are forced to submit.
Then we clearly hear a
crescendo that makes us
imagine the agony of the
collision that precedes
the shipwreck. The
breaking of the hull, the
water flooding
everything, the despair,
the clash of bodies on
the rocks, the tragedy to
come. Before the grand
finale, in which the
return of musical
softness reminds us that
the story is over. The
supremacy of nature over
human greed. The waves,
though gentle, sweep the
wreckage, the lives and
the treasures of the New
World to the bottom of
the sea.
Het
Spaans oorlogsgaljoen met
64 kanonnen, gebouwd in
Cuba tussen 1770 en 1771
voor een Engelse reder in
dienst van de koning van
Spanje vertrok in 1784
vanuit Peru naar Cádiz
met een enorme lading
koper, goud, zilver en
andere kostbaarheden aan
boord. Er waren ook meer
dan 400 mensen aan boord,
waaronder passagiers,
bemanning en Inca
gevangenen na een
opstand. De oversteek van
de Atlantische Oceaan
verliep vlot, waarbij
Portugal werd gepasseerd
om te profiteren van
gunstige winden. De
schipbreuk bij Peniche
was het resultaat van een
menselijke fout,
blijkbaar te wijten aan
Franse kaarten met
dramatische fouten in de
positie van de eilanden
Berlengas en naburige
eilandjes. Op 2 februari
1786 was de zee kalm en
de nacht helder, maar ze
raakten de rotsformatie
Papoa en de romp brak
onmiddellijk in tweeën.
De bodem zonk snel,
terwijl het dek nog enige
tijd bleef drijven. 128
mensen verloren het
leven, waaronder veel
indianen die vastzaten in
de kelder. Dit
scheepswrak wordt
beschouwd als een van de
belangrijkste in de
maritieme
geschiedenis.
Wat
de componist wil
overbrengen, en wat men
kan voelen als men
luistert, is allereerst
het geluid van macht, van
hoop, van de glorie van
verovering, van de pracht
van rijkdom. Dit wordt
gevolgd door de perceptie
van de maritieme
omgeving, de harmonie met
de zachtheid van de
oceaan, het glijden van
de romp in het schuim van
de zee op zonnige, blauwe
dagen. Maar samen met
deze rust hoor je al snel
een ritmische ketting die
je een voorstelling geeft
van de drukte, van de
drukke bemanning, van het
harde werk van een
zeeman, van de wanhoop
van een exotisch volk dat
gevangen zit in een
donkere, vochtige kelder.
Een duidelijk ritme dat
ons doet denken aan de
salero van Andalusië,
met zijn Arabische
invloeden en zijn mensen,
het sussen van de
berusting van anderen die
gedwongen worden zich te
onderwerpen. Dan horen we
duidelijk een crescendo
dat ons de lijdensweg
doet voorstellen van de
aanvaring die voorafgaat
aan de schipbreuk. Het
breken van de romp, het
water dat alles
overspoelt, de wanhoop,
het botsen van lichamen
op de rotsen, de tragedie
die komen gaat. Vóór de
grote finale, waarin de
terugkeer van de muzikale
zachtheid ons eraan
herinnert dat het verhaal
voorbij is. De overmacht
van de natuur over de
hebzucht van de mens. De
golven, hoewel zacht,
vegen het wrak, de levens
en de schatten van de
Nieuwe Wereld naar de
bodem van de
zee.
Le galion de
guerre espagnol de 64
canons, construit à Cuba
entre 1770 et 1771 pour
un armateur anglais au
service du roi d'Espagne,
a quitté le Pérou pour
Cadix en 1784 avec à son
bord une énorme
cargaison de cuivre,
d'or, d'argent et
d'autres objets de
valeur. Il y avait
également plus de 400
personnes à bord, dont
des passagers, des
membres d'équipage et
des prisonniers incas à
la suite d'une révolte.
La traversée de
l'Atlantique s'est
déroulée sans encombre,
en passant par le
Portugal pour profiter
des vents favorables. Le
naufrage au large de
Peniche est le résultat
d'une erreur humaine,
apparemment due à des
cartes françaises
comportant des erreurs
dramatiques dans la
position des îles de
Berlengas et des îlots
voisins. Le 2 février
1786, alors que la mer
est calme et la nuit
claire, le navire heurte
la formation rocheuse de
Papoa et la coque se
brise immédiatement en
deux. Le fond coule
rapidement, tandis que le
pont reste à flot
pendant un certain temps.
128 personnes ont perdu
la vie, dont de nombreux
Indiens qui étaient
coincés dans les
sous-sols. Ce naufrage
est considéré comme
l'un des plus importants
de l'histoire
maritime.
Ce que
le compositeur veut
transmettre, et ce que
l'on ressent à
l'écoute, c'est d'abord
le son de la puissance,
de l'espoir, de la gloire
de la conquête, de la
splendeur de la richesse.
C'est ensuite la
perception de
l'environnement maritime,
l'harmonie avec la
douceur de l'océan, le
glissement de la coque
dans l'écume de la mer
par des journées bleues
et ensoleillées. Mais à
côté de cette
tranquillité, on entend
bientôt une chaîne
rythmique qui nous fait
ressentir une
représentation de
l'agitation, de
l'équipage affairé, du
dur labeur d'un marin, du
désespoir d'un peuple
exotique emprisonné dans
une cave sombre et
humide. Un rythme
distinct qui nous
rappelle le salero
d'Andalousie, avec ses
influences arabes et son
peuple, l'apaisement de
la résignation des
autres qui sont obligés
de se soumettre. Puis on
entend clairement un
crescendo qui nous fait
imaginer l'agonie de la
collision qui précède
le naufrage. La rupture
de la coque, l'eau qui
envahit tout, le
désespoir, le choc des
corps sur les rochers, la
tragédie à venir. Avant
le grand final, où le
retour de la douceur
musicale nous rappelle
que l'histoire est
terminée. La suprématie
de la nature sur la
cupidité humaine. Les
vagues, bien que douces,
emportent les épaves,
les vies et les trésors
du Nouveau Monde au fond
de la mer.
Die
spanische Kriegsgaleone
mit 64 Kanonen, die
zwischen 1770 und 1771
auf Kuba für einen
englischen Reeder im
Dienste des spanischen
Königs gebaut wurde,
verließ Peru 1784 in
Richtung Cádiz mit einer
riesigen Ladung Kupfer,
Gold, Silber und anderen
Wertgegenständen an
Bord. An Bord befanden
sich auch mehr als 400
Menschen, darunter
Passagiere,
Besatzungsmitglieder und
Inka-Gefangene nach einem
Aufstand. Die
Atlantiküberquerung
verlief reibungslos,
wobei Portugal passiert
wurde, um die günstigen
Winde zu nutzen. Der
Schiffbruch vor Peniche
war das Ergebnis
menschlichen Versagens,
das offenbar auf
französische Karten
zurückzuführen war, die
in Bezug auf die Position
der Inseln Berlengas und
der benachbarten Eilande
dramatische Fehler
enthielten. Am 2. Februar
1786 stießen sie bei
ruhiger See und klarer
Nacht auf die
Felsformation Papoa und
der Rumpf brach sofort
entzwei. Der Boden sank
schnell, während das
Deck noch einige Zeit
über Wasser blieb. 128
Menschen kamen ums Leben,
darunter viele Indianer,
die im Keller
eingeschlossen waren.
Dieses Schiffswrack gilt
als eines der
bedeutendsten
Was
der Komponist vermitteln
will und was man beim
Zuhören spürt, ist
zunächst der Klang der
Macht, der Hoffnung, des
Ruhms der Eroberung, des
Glanzes des Reichtums. Es
folgt die Wahrnehmung der
maritimen Umgebung, die
Harmonie mit der
Sanftheit des Meeres, das
Gleiten des
Schiffsrumpfes im Schaum
des Meeres an sonnigen,
blauen Tagen. Doch neben
dieser Ruhe hört man
bald eine rhythmische
Kette, die die Hektik,
die geschäftige
Mannschaft, die harte
Arbeit eines Seemanns,
die Verzweiflung eines
exotischen Volkes, das in
einem dunklen, feuchten
Keller gefangen ist,
wiedergibt. Ein
ausgeprägter Rhythmus,
der an den Salero
Andalusiens erinnert, mit
seinen arabischen
Einflüssen und seinen
Menschen, der die
Resignation der anderen
besänftigt, die
gezwungen sind, sich zu
fügen. Dann hören wir
deutlich ein Crescendo,
das uns die Qualen des
Zusammenstoßes, der dem
Schiffbruch vorausgeht,
erahnen lässt. Das
Zerbrechen des Rumpfes,
das Wasser, das alles
überflutet, die
Verzweiflung, das
Aufeinanderprallen der
Körper auf den Felsen,
die bevorstehende
Tragödie. Vor dem
großen Finale, in dem
die Rückkehr der
musikalischen Sanftheit
uns daran erinnert, dass
die Geschichte zu Ende
ist. Die Vorherrschaft
der Natur über die
menschliche Gier. Die
Wellen, so sanft sie auch
sein mögen, spülen die
Trümmer, das Leben und
die Schätze der Neuen
Welt auf den Grund des
Meeres. $209.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Melodie dei Puritani di Bellini Clarinette et Piano Potenza Music
By Domenico Liverani. Arranged by Diane Barger. For Clarinet and Piano. Chamber ...(+)
By Domenico Liverani.
Arranged by Diane Barger.
For Clarinet and Piano.
Chamber music. Published
by Potenza Music
$19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Band Time Starter ( Mallets-Timpani ) - Débutant De Haske Publications
Mallet Percussion / Timpani - very easy, easy SKU: BT.DHP-1012609-719 Com...(+)
Mallet Percussion /
Timpani - very easy, easy
SKU:
BT.DHP-1012609-719
Composed by Jan de Haan.
Horen, Lezen en Spelen
internationaal.
Educational Tool. Book
Only. Composed 2001. De
Haske Publications #DHP
1012609-719. Published by
De Haske Publications
(BT.DHP-1012609-719).
ISBN 9789043112611.
English-German-French-Dut
ch. The BAND TIME
series consists of a
number of books
containing easy pieces
suitable for youth band.
BAND TIME Starter is
intended for the first
year of band playing and
includes four-part pieces
in many different styles.
The difficulty of the
pieces increases in
parallel with the
material covered in the
first part of the Look,
Listen & Learn method.
The first three works,
however, are three-part
pieces in order to
accommodate the limited
range of notes available
at this stage. The BAND
TIME series is suitable
for various combinations
of instruments provided
that the parts are
divided in a sensible way
(for concert band,
fanfare band or brass
band). The material for
altosaxophone, trombone
and
baritone/euphonium/bass
clarinet is divided into
parts 1 and 2 in order to
cover all voices using
the most popular
instruments.
De
serie Band Time is
ontwikkeld om kinderen
vroeg kennis te laten
maken met het samenspel
in een blaasorkest.
Band time Starter
maakt dit al in het
eerste jaar mogelijk.
Deze uitgave bevat
vierstemmige stukken in
diversestijlen- de eerste
drie stukken zijn drie
stemmig, aangespast aan
de vaardigheden van de
beginnende leerling. De
moeilijkheidsgraad en de
muzikale inhoud zijn
gebasseerd op Horen,
Lezen & Spelen. In de
partituur staatuitgelegd
hoe u de serie optimaal
benut en hoe de
instrumentatie in uw
specifieke bezetting het
best kan worden
toegepast. Op de los
verkrijgbare cd worden de
stukken door een
harmonieorkest
voorgespeeld, zodat de
leerlingen thuiseen goede
indruk krijgen van hoe de
stukken klinken. Ze
kunnen zelf meespelen of
ernaar luisteren. Dit zal
de motifatie (en het
studieresultaat)
bevorderen.
Parall
el zu den ersten Stunden
Instrumentalunterricht
werden die jungen Musiker
mit den Stücken dieser
Sammlung für das
Spielen im
Anfängerorchester
motiviert. BAND TIME
Starter eignet sich
für das erste Jahr im
Blasorchester und
enthält vierstimmige
Stücke in vielen
verschiedenen Stilen. Der
allmählich
fortschreitende
Schwierigkeitsgrad
entspricht dem Stoff der
Bläserschule
Hören, lesen und
spielen Band 1, kann
aber auch gut
unabhängig davon
eingesetzt werden. Die
ersten drei Stücke
passen sich mit ihren
lediglich drei Stimmen
dem noch begrenzten
Tonumfang an, über den
die Schüler in diesem
Stadium verfügen. Aus
dem gleichen Grund
weichen manchmaldieselben
Stimmen für
unterschiedliche
Instrumente leicht
voneinander ab.
Geringfügige
Abweichungen erklären
sich außerdem aus
manchen besonderen
Bedingungen bei einem
bestimmten Instrument,
zum Beispiel schwierige
Tonfolgen. Passend zu der
Reihe ist eine CD
erhältlich, mit deren
Unterstützung die
Schüler zu Hause mit
richtiger
Orchesterbegleitung
spielen können. Ein
schnellerer Erfolg ist
damit gesichert!
L'Obiettivo della
collana BAND TIME è
quello di motivare i
giovani musicisti a
suonare in una banda
principiante o giovanile.
BAND TIME Starter e il
suo seguito BAND TIME
Expert, come anche i
brani natalizi raccolti
in BAND TIME Christmas
propongono brani in vari
generi musicali che
seguono il livello di
difficolt crescente
proposto del metodo
Ascolta, leggi & suona
(possono essere usati
anche separatamente). I
brani sono eseguibili gi
a partire da un organico
di tre o quattro
elementi. per ogni
collana è disponibile
separatamente un CD con
gli accompagnamenti
orchestrali. Per la lista
degli strumenti
disponibili visitate il
nostro sito. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Heartbreak Trail - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Sleigh Bells, Snare
Drum, Suspended Cymbal,
Timpani, Tom-tom and
more. - Grade 2 SKU:
CF.YPS241 Composed by
David Bobrowitz. Set of
Score and Parts.
17+4+4+2+4+4+2+2+3+2+2+2+
4+4+4+4+3+3+3+2+3+2+1+3+3
pages. Duration 2
minutes, 53 seconds. Carl
Fischer Music #YPS241.
Published by Carl Fischer
Music (CF.YPS241).
ISBN 9781491159651.
UPC:
680160918249. PROGR
AM NOTES Heartbreak Trail
describes the forced
relocation of
approximately 100,000
Native Americans in the
1830s. Known as the Trail
of Tears, thousands lost
their lives during the
march, and it is
remembered today as a
great human-rights
atrocity and a shameful
period in American
history. The opening
A-section captures the
sadness of those in the
five tribes who were
forced from their
homeland. The fast
B-section represents the
determination to survive
the long, difficult trek.
Although there were many
obstacles, thousands did
survive, but a dark
A-section returns to
depict the loss of
homeland, fellow tribe
members, and a depression
over the new lack of
freedom. PERFORMANCE
NOTES The opening should
be at a moderate pace and
section entrances should
be balanced at mezzo
piano. In m. 12 have the
woodwinds play out their
melodic material. In m.
20 the brass should pick
up the same volume level
as did the woodwinds
previously. Measure 27
should die away from what
was, and then a sudden
change in volume, and
mood at m. 31. The entire
B-section should be bold,
with attention paid to
the many accents. (Before
working the B-section, an
explanation of the
difference in accents
will probably aid in
accuracy.) Measures 37
and 41 have the timpanist
and tom-tom player play a
very strong forte with
attention to the accents.
Measures 51 to 52 work a
strong quick crescendo to
fortissimo. This should
set up the tutti forte at
m. 53. In m. 61 start a
gradual diminuendo to the
return of the A-section
at m. 68. Explain how to
execute the staggered
breathing for the flutes,
tenor sax and trombone
starting at m. 73.
Although the final
percussion from m. 73 to
the end is soft and
fading, make sure the
final sleigh bell sounds
are heard
clearly. Â PROGRAM
NOTESHeartbreak Trail
describes the forced
relocation of
approximately 100,000
Native Americans in the
1830s. Known as the Trail
of Tears, thousands lost
their lives during the
march, and it is
remembered today as a
great human-rights
atrocity and a shameful
period in American
history. The opening
A-section captures the
sadness of those in the
five tribes who were
forced from their
homeland. The fast
B-section represents the
determination to survive
the long, difficult
trek.Although there were
many obstacles, thousands
did survive, but a dark
A-section returns to
depict the loss of
homeland, fellow tribe
members, and a depression
over the new lack of
freedom.PERFORMANCE
NOTESThe opening should
be at a moderate pace and
section entrances should
be balanced at mezzo
piano. In m. 12 have the
woodwinds play out their
melodic material. In m.
20 the brass should pick
up the same volume level
as did the woodwinds
previously. Measure 27
should die away from what
was, and then a sudden
change in volume, and
mood at m. 31. The entire
B-section should be bold,
with attention paid to
the many accents. (Before
working the B-section, an
explanation of the
difference in accents
will probably aid in
accuracy.) Measures 37
and 41 have the timpanist
and tom-tom player play a
very strong forte with
attention to the
accents. Measures 51
to 52 work a strong quick
crescendo to fortissimo.
This should set up the
tutti forte at m. 53. In
m. 61 start a gradual
diminuendo to the return
of the A-section at m.
68. Explain how to
execute the staggered
breathing for the flutes,
tenor sax and trombone
starting at m. 73.
Although the final
percussion from m. 73 to
the end is soft and
fading, make sure the
final sleigh bell sounds
are heard clearly. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Heartbreak Trail [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Sleigh Bells, Snare
Drum, Suspended Cymbal,
Timpani, Tom-tom and
more. - Grade 2 SKU:
CF.YPS241F Composed
by David Bobrowitz. Full
score. 17 pages. Carl
Fischer Music #YPS241F.
Published by Carl Fischer
Music (CF.YPS241F).
ISBN 9781491159668.
UPC:
680160918256. PROGR
AM NOTES Heartbreak Trail
describes the forced
relocation of
approximately 100,000
Native Americans in the
1830s. Known as the Trail
of Tears, thousands lost
their lives during the
march, and it is
remembered today as a
great human-rights
atrocity and a shameful
period in American
history. The opening
A-section captures the
sadness of those in the
five tribes who were
forced from their
homeland. The fast
B-section represents the
determination to survive
the long, difficult trek.
Although there were many
obstacles, thousands did
survive, but a dark
A-section returns to
depict the loss of
homeland, fellow tribe
members, and a depression
over the new lack of
freedom. PERFORMANCE
NOTES The opening should
be at a moderate pace and
section entrances should
be balanced at mezzo
piano. In m. 12 have the
woodwinds play out their
melodic material. In m.
20 the brass should pick
up the same volume level
as did the woodwinds
previously. Measure 27
should die away from what
was, and then a sudden
change in volume, and
mood at m. 31. The entire
B-section should be bold,
with attention paid to
the many accents. (Before
working the B-section, an
explanation of the
difference in accents
will probably aid in
accuracy.) Measures 37
and 41 have the timpanist
and tom-tom player play a
very strong forte with
attention to the accents.
Measures 51 to 52 work a
strong quick crescendo to
fortissimo. This should
set up the tutti forte at
m. 53. In m. 61 start a
gradual diminuendo to the
return of the A-section
at m. 68. Explain how to
execute the staggered
breathing for the flutes,
tenor sax and trombone
starting at m. 73.
Although the final
percussion from m. 73 to
the end is soft and
fading, make sure the
final sleigh bell sounds
are heard
clearly. Â PROGRAM
NOTESHeartbreak Trail
describes the forced
relocation of
approximately 100,000
Native Americans in the
1830s. Known as the Trail
of Tears, thousands lost
their lives during the
march, and it is
remembered today as a
great human-rights
atrocity and a shameful
period in American
history. The opening
A-section captures the
sadness of those in the
five tribes who were
forced from their
homeland. The fast
B-section represents the
determination to survive
the long, difficult
trek.Although there were
many obstacles, thousands
did survive, but a dark
A-section returns to
depict the loss of
homeland, fellow tribe
members, and a depression
over the new lack of
freedom.PERFORMANCE
NOTESThe opening should
be at a moderate pace and
section entrances should
be balanced at mezzo
piano. In m. 12 have the
woodwinds play out their
melodic material. In m.
20 the brass should pick
up the same volume level
as did the woodwinds
previously. Measure 27
should die away from what
was, and then a sudden
change in volume, and
mood at m. 31. The entire
B-section should be bold,
with attention paid to
the many accents. (Before
working the B-section, an
explanation of the
difference in accents
will probably aid in
accuracy.) Measures 37
and 41 have the timpanist
and tom-tom player play a
very strong forte with
attention to the
accents. Measures 51
to 52 work a strong quick
crescendo to fortissimo.
This should set up the
tutti forte at m. 53. In
m. 61 start a gradual
diminuendo to the return
of the A-section at m.
68. Explain how to
execute the staggered
breathing for the flutes,
tenor sax and trombone
starting at m. 73.
Although the final
percussion from m. 73 to
the end is soft and
fading, make sure the
final sleigh bell sounds
are heard clearly. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bay Shore Park - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2 and
more. - Grade 3 SKU:
CF.CPS230
March. Composed by
Joseph Compello. Folio.
Cps. Set of Score and
Parts.
16+4+8+8+4+4+8+4+4+4+4+4+
12+6+4+8+1+1+4+1+16
pages. Duration 2
minutes, 51 seconds. Carl
Fischer Music #CPS230.
Published by Carl Fischer
Music (CF.CPS230).
ISBN 9781491156308.
UPC: 680160914845. 9 x 12
inches. Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes Bay
Shore Park is intended
for a band with at least
one year's training. It
is also suitable for more
experienced bands. It
should be performed as a
traditional American
style concert march. A
successful performance
will require careful
attention to balance in
the Trio at m. 55.
Additionally, balance
will also be crucial at
m. 103 where the Trio
melody and the melody
from m. 9 are heard
together. The overall
character of the music
should be lively and
carefree, much like a
summer day at Bay Shore
Park on the shores of the
Chesapeake
Bay. Personal NoteMy
high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life’s
course on the path of
music.Performance
NotesBay Shore Park is
intended for a band with
at least one
year’s training.
It is also suitable for
more experienced bands.
It should be performed as
a traditional American
style concert march. A
successful performance
will require careful
attention to balance in
the Trio at m. 55.
Additionally, balance
will also be crucial at
m. 103 where the Trio
melody and the melody
from m. 9 are heard
together. The overall
character of the music
should be lively and
carefree, much like a
summer day at Bay Shore
Park on the shores of the
Chesapeake Bay. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bay Shore Park [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2 and
more. - Grade 3 SKU:
CF.CPS230F
March. Composed by
Joseph Compello. Sws.
Cps. Full score. 16
pages. Duration 2
minutes, 51 seconds. Carl
Fischer Music #CPS230F.
Published by Carl Fischer
Music (CF.CPS230F).
ISBN 9781491156315.
UPC: 680160914852. 9 x 12
inches. Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes Bay
Shore Park is intended
for a band with at least
one year's training. It
is also suitable for more
experienced bands. It
should be performed as a
traditional American
style concert march. A
successful performance
will require careful
attention to balance in
the Trio at m. 55.
Additionally, balance
will also be crucial at
m. 103 where the Trio
melody and the melody
from m. 9 are heard
together. The overall
character of the music
should be lively and
carefree, much like a
summer day at Bay Shore
Park on the shores of the
Chesapeake
Bay. Personal NoteMy
high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He
was my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life’s
course on the path of
music.Performance
NotesBay Shore Park is
intended for a band with
at least one
year’s training.
It is also suitable for
more experienced bands.
It should be performed as
a traditional American
style concert march. A
successful performance
will require careful
attention to balance in
the Trio at m. 55.
Additionally, balance
will also be crucial at
m. 103 where the Trio
melody and the melody
from m. 9 are heard
together. The overall
character of the music
should be lively and
carefree, much like a
summer day at Bay Shore
Park on the shores of the
Chesapeake Bay. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zephyrus Theodore Presser Co.
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music SKU:
PR.164002120 Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
32+16+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#164-00212. Published by
Theodore Presser Company
(PR.164002120). UPC:
680160037582. Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zephyrus Theodore Presser Co.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S
Composed by Dan Welcher.
With Standard notation.
Duration 16 minutes.
Theodore Presser Company
#164-00212S. Published by
Theodore Presser Company
(PR.16400212S). UPC:
680160037605. Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 |